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“I am convinced that all art has the desire to leave the ordinary,and to say it one way, at a spiritual level, a state of the exaltation at existence. All art has this in common. But jazz, the world of improvisation, is perhaps the highest, because we do not have the opportunity to make changes. It’s as if we were painting before the public, and the following morning we cannot go back and correct that blue color or change that red. We have to have the blues and reds very well placed before going out to play. So for me, jazz is probably the most demanding art.” - Sonny Rollins from a recent interview for the Catalan magazine Jaç
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New York Jazz
Letting Go With Serious Music—Taylor Eigsti’s CD Release at Scullers, Jazz Standard Print E-mail
Contributed by Andrea Canter, Contributing Editor   
Friday, 09 May 2008

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Taylor Eigsti©Devin Dehaven
 

He's the most amazing talent I've ever come across. Remember him." -- Dave Brubeck 

From his earliest interest in the piano as a toddler to his public debut opening for David Benoit at age 8 and throughout his teens when he shared the stage with Diane Schuur and Dave Brubeck, Taylor Eigsti has been on a star trajectory, a path that too often ends when a “child prodigy” enters the more competitive, complex world of adult artist. But Taylor was already entering that more demanding world before high school graduation, releasing his first CD at 14, joining the Stanford Jazz Workshop faculty at 15, and opening for the likes of Diana Krall, Al Jarreau and Hank Jones. Since, he as twice appeared on Marian McPartland’s Piano Jazz, was twice recognized by the DownBeat Critics’ Poll, and graced the covers of Jazziz and Keyboard Magazine. Ready to celebrate the release of his sixth recording, Let It Come to You (Concord) at Sculler’s in Boston (May 14th ) at Jazz Standard in Manhattan (May 15-18), 23-year-old Taylor Eigsti hopes he’s finally proven himself worthy of both praise and criticism on the basis of his music. “If someone dislikes my music, I would prefer that they not chalk it up to ‘age,’ and rather judge me on what I am offering within the music alone… I am going to be developing, learning, and growing older throughout my whole life, and I would never say that all of a sudden I'm at the age where I should be taken seriously, because I always took the music seriously myself.”

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Reason for “Optimism”--Jaleel Shaw’s CD Release at the Jazz Gallery, May 2-3 Print E-mail
Contributed by Andrea Canter, Contributing Editor   
Friday, 02 May 2008

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Jaleel Shaw©Andrea Canter

“Mr. Shaw’s sound on alto saxophone can variously suggest Cannonball Adderley, Jackie McLean or his mentor, Bobby Watson—it’s brawny and full-bodied, but capable of quick silver actions—and his improvisational method is surefooted and exploratory,” – Nate Chinen, New York Times

Drum legend Roy Haynes tours these days with the aptly named Fountain of Youth Quartet. Through Haynes, we were introduced a few years ago to the keyboard phenom Martin Bejerano and the soon-to-be highly acclaimed tenor saxophonist, Marcus Strickland. With Strickland busy leading his own ensembles and other committments, the sax chair was filled about two years ago by young altoist, Jaleel Shaw. Proving his chops with the Mingus Big Band, Roy Hargrove, and Arturo Sandoval as well as in his continuing role with Haynes, Shaw has since earned accolades leading his own group and for his debut recording, Perspective. Proving it was no fluke, Jaleel will celebrate the release of his follow-up recording on his own lable (Changu), Optimism, with sets at the Jazz Gallery in Manhattan on May 2-3.

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The Joe Lovano Nonet: Streams of Expression at Dizzy's May 6-11 Print E-mail
Contributed by Ronaldo Oregano   
Wednesday, 30 April 2008
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Joe Lovano © Andrea Canter
The Joe Lovano Nonet: Streams of Expression is appearing at Dizzy's in New York on Tuesday, May 6th through Sunday, May 11th. The band includes Joe Lovano, tenor saxophone; Ralph Lalama, tenor saxophone; Tim Hagans, trumpet; Barry Ries, trumpet; Steve Slagle, alto saxophone; Larry Farrell, trombone; Gary Smulyan, baritone saxophone; James Weidman, piano; Cameron Brown, bass; Lewis Nash, drums. In 2000 Lovano introduced his nonet by releasing, 52nd Street Themes on Blue Note. Recorded with a stellar cast of musicians, the charts penned by Joe and legendary Cleveland arranger Willie "Face" Smith, are jazz classics recast for ensembles as large as nonet, including five Tadd Dameron tunes. Winner of a Grammy for "Best Large Jazz Ensemble Album", 52nd Street Themes, is Joe's tribute to the days when swing and bebop co-mingled freely. The five star Down Beat: review said: "...[Lovano's] most important and most fully realized recording to date....He plays here with a balance of imaginative abandon and technical control that has not been heard since John Coltrane..." In the summer of 2003 a Joe followed up with a dynamic live recording by his Nonet. Recorded On This Day…At The Vanguard.
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Big Band Master Frank Wess Brings Quintet to the Village Vanguard, April 29-May 4 Print E-mail
Contributed by Andrea Canter, Contributing Editor   
Saturday, 26 April 2008

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Frank Wess © Ronald K Marsh
“Frank Wess is revered as a smoothly swinging tenor saxophone player in the Lester Young tradition, as an expert alto saxophonist, and as one of the most influential, instantly recognizable flutists in jazz history.” National Endowment for the Arts, 2007

At 85, American Jazz Master saxophonist/flautist Frank Wess is hardly considering retirement. That will be quite obvious this week at the Village Vanguard (April 29-May 4) when the Basie alum brings a stellar quintet to the stage, featuring Terell Stafford (trumpet), Ilya Lushtak (guitar), Rufus Reid (bass) and Winard Harper (drums).

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 Friday, 09 May 2008
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